Mark Chapa

Evolution of Tragedy

            In a search for truth or at the very least for understanding regarding Tragedy, what is found is not a tragic ending.  In fact, a fairly intelligent understanding of Tragedy and its motives is established and helps to further process information gathered through the study of this particular genre.  On the basis of On the Greatness of Tragedy, number 5 states that Tragedy, “Inspires search for truth (rather than assumptions of truth) plus ethical response of sharing guilt or blame; humans made of good and bad, formed by free will and fate.”  As I search for enlightenment, Tragedy hopes to enlighten us to a larger and better truth.  These truths we search for are ever changing according to time, place and situation.  Each time variables change so does the truth.  This changing process and continuous mutation of thinking is the Evolution of Tragedy.

            In earlier plays such as Antigone and Medea, a time of inequality was shared by all women and yet these tragic heroines decide to take matters into their own hands.  Though fate places these two women in other than favorable circumstances, it is their own free will that enables them to make choices based upon their individual beliefs. 

            In the case of Antigone, you have a heroine willing to endure all to bury her fallen brother while her Uncle threatens her life if she chooses to do so.  In a time designed for rulers, Antigone has little choice but to endure whatever punishment is levied upon her.  The suppression of true thoughts and feelings at this point in time lead to Antigone committing suicide and the demise of the King.  This ending fits the mold of a classic tragic ending.                         

            Yet in Medea we have a woman in an inopportune situation that manages to salvage something for her own person (a living).  Her own decisions lead to the destruction of several lives including her own children; however, she manages to keep herself from harm and has found a new place of residence.  While the damage has been done, it is apparent that Medea performs some type of reasoning and, though they may not be the best decisions, we see the ability to conscientiously think and make decisions.

            The difference between these two plays is simple; the heroine in one kills herself while in the second the heroine kills everyone but herself in order to escape.  Medea slightly alters the path of tragedy as she is no longer seen as banished or punished but as escaping.  A shift in the norm occurs which no longer sees the individual as succumbing to psychological and emotional impulses.  What does occur is a calculated method of reasoning and decision making that leads to the destruction of not the individual (Tragic Heroine) but those that surround her. 

            Now that reasoning is introduced, we reach another level of tragedy.  This level is evidenced in Raisin in the Sun as several characters battle obstacles that could quite possibly cause tragedy but due to communication and moral reasoning it does not occur.  In the instance when the money is lost, tragedy does not ensue; in fact the search for truth is more evident.  The character Walter is placed in an uncomfortable predicament by his mother as she forces him to carry out his decision in front of his own son.  As opposed to being prideful and sneaky, Walter chooses the more righteous path of truth and sincerity by swallowing his pride and breaking the cycle before it envelopes his own son (which would have been tragic).  This form of tragedy is set apart from traditional in the fact that a lesson is learned not only by the audience but by the characters in the story.

                        In A Moon for the Misbegotten, Hogan the father is portrayed as a hard-headed swindler, Josie is an oversized, though feminine town slut, while Tyrone is a drinking and philandering fool.  Though filled with hints of tragic characteristics, this story also rises to the measures of Raisin as the characters continue to communicate and search for meaning and truth.  All the portrayals at the beginning of the story are one dimensional and fail to take in the true feelings and character of each individual.  Hogan truly does care about his daughter, Josie is capable of love on various levels and Tyrone does not enjoy the life of excess.  Though a twisted set of encounters and situations, we find ourselves understanding the characters and find enjoyment in their resolution no matter how minute.  As in Raisin we find that the characters and the audience learn from truth and reasoning. 

            The continual ability to think and reason leads to resolved endings in tragic situations.  The fact that there is resolution allows for a better connection with the readers.  The more contemporary tragic writings are not as striking and ferocious as traditional texts but still provide a search for truth.  What is better is that in this equation, we have not only a presented problem with a tragic wrong answer but a balanced equation that gives us the problem and an answer.            [MC]